basil's cathedral in moscow. welcome to all it's twenty one today with three remarkable women. the revolution three dunce changed through movement the sash of us has redefined our concept of space of the human body she's one of germany's most versatile and best known choreographer. the. photographic special relation born in iran the artist is a woman of courage she supports opponents of the regime in her home country and sees a self as a freedom fighter deploying the weapons of arms against the suppression of muslim women. the price she must pay as a life in exile. the undisputed

queen of performance art marina abramovich one of the most radical artists of our time she uses her own body to convey her ideas and explore boundaries. trust remember the last page. today she's an icon. we all three these exceptional artists each has overcome a number of obstacles along their way an encounter with three unstoppable women. spring in new york twenty ten in the museum of modern art marina abramovich ventures to do what no art as the for her has ever attempted a seven hundred fifty hour performance. for three

months she sits on a wooden chair silently looking into the eyes of her visitors and existential experience. the artist is present is the performance which makes marina abramovich a legend. also in twenty sixteen we meet her in new york on his seventieth birthday. a woman who knows the effect she has a bit of a diva cool and very intense. mother. forgiveness. long. lonely now.

marina abramovic has turned her life into recess she has exposed herself to pain. discomfort. even danger ever since the nine hundred seventy s. . abramovich grew up after world war two in belgrade the capital of communist yugoslavia. had parents the partisans who had fought the nazis during the womb. the father was a high ranking officer another historian it was a strict discipline was more important than love. the trial that was painting my dreams and then i was writing poetry and then i thought the car then me and then i start painting and then from the painting somehow come this idea of

making a performance i really was thinking to be in the studio in paint something which is two dimensional so actually restricted what about going out or what about using fire the water using the elements using the own body using your own blood and your own emotions and creating art with that and this was really my beginning and of course with this inexorable slavia which had been the early access to the other ideas similar in that time internationally i was like a black sheep in the middle of nowhere and and everybody was thinking i'm completely crazy this war is nothing this is not you can't call this art my professor. we parents criticize our party meetings and i just continued the only thing i had the time it was my intuition some hole somewhere i was right i give you. this beautiful. house is more than skin deep literally she brushes her hair until his skull leads

to criticize the fact that art should only ever she beautiful. cause the pain to herself in order to free myself from pain the pain is ok and this was exactly you're not you're free the pain would get three of that's exactly what i have to be done and in my life to become something to do with everything you know if i'm afraid of something or. panicking or i'm going to our norm i would do it. in a city rainy and shirin neshat uses her work to come to terms with her home country . when the islamic revolution swept through iran in one nine hundred seventy nine she remission and was living in the us. she didn't return to iran until a decade later it was the last visit. these photos of her response to the country's

altered cultural landscape women who wear veils but exude self-confidence nonetheless i myself. yet i make it work. syrian national it is soft spoken and reserved and then precious when it comes to her work in turkey and twenty seventeen her lifetime achievement was honored with the global arts price premium imperioli then it is familiar territory she's won several major awards here during the b. in only in twenty seventeen she had an exhibition at the revered billard summer zero career. the her. one of my eyes is a series of large portraits. measured photographed men and women of all ages in azerbaijan neighbor to iran and former member of the soviet republic each person has a similar pose. as their patient was a part of iran until i was in one thousand century so when i went as i have asian i

felt like i was going home and me that never goes back to iran being you know as i have asian was very sort of moving for me and was that aging. as a persian is a multiethnic nation between the caucasus mountains and the caspian sea. here and muslims jews and christians live peacefully side by side. the artist also asked her photo subjects about their notion of home and penned their own says on to their portraits in the home of my eyes searing nature also questions herself. i've lost all flavor of what is the meaning of home by being nomadic or not homeless but the magic and it was a interesting because they're there things that they pointed out to were that what was the essence of the meaning of home to them certain reasons that with never ever

allowed them to leave by chance of me questioning them a bad they're in their relationships as a concept of home was really my own self looking into the mirror and asking those questions to myself. shirin neshat enjoyed a middle class liberal upbringing and went to a catholic boarding school in tehran early on she knew she wanted to be an artist when she was seventeen she went to the us to study the western backed shah was still in power at the time. then in one nine hundred seventy nine he was overthrown and the islamic fundamentalist ayatollah khamenei took over young sure. national could no longer go back to see her family. i think those years were the most traumatic years of my life this separation became really critical for me as a young person who was not quite at ease with the american quarter and there's that they wanted to go home but it wasn't possible because the airports were cause. and

american relationship broke down and the war with iraq had become so serious that my family just said please don't even think of coming back before you know it you find other people who are in the same situation and you bond together like i have with my husband my colleagues that i work with and we create our own community as survivors and we made arts and and then you end up creating pioneering your own lifestyle that is not magic. the film royer shows how little shirin neshat felt at home in the usa the country of exile. collaborating and occupying free spaces is also familiar to sasha votes joining

choreographer moved to berlin in the early ninety's ninety's shortly after reunification. the transitioning says he was an elder rather of sorts for the arts fringe anything was possible. found at the dance hall songbook sasha bites and guests and set off on a journey into the are no. a list was total i didn't want anything one dimensional where you say one thing and everybody understands the same thing. that's pretty boring to me. soon of us discovers there's a fiend sale of a new car across if the successful dance piece there are later or avenue of the cosmonauts. and offbeat provocative production part of a trilogy on the absurdities of domestic life. the company spent months researching in the communist era housing complexes of east berlin.

russia votes travels the world with her company in twenty thirteen they received an invitation to kolkata. in collaboration with indian choreographer padmini chatter and her ensemble of us designed a performance in the courtyard and wings of an old private palace from the colonial era. is my son's the project in calcutta was very unusual it was set in an old palace and it led a different kind of storytelling emerged that way the rooms had been sealed off it was as if the life that had taken place there before had stood still and it was like a fairy tale where everybody had fallen asleep in time passes over them the pictures

on the wall fade dust settles everywhere the skies travelling has always been a part of the way we see ourselves right from the beginning it defines our longing and our self image of first then. initially but it's danced along with her ensemble she was seeking new forms of expression also with other performing arts dance alone has never been enough for her up front fee i started taking dance lessons when i was five until the age of about twelve. it was only after. i discovered post modern dance and contact improvisation with some and all of these techniques of consciousness and perception that i really developed an interest in studying dance concert studio during a five year stint as an artistic director of bilin shelby interferes a session of arts created one of the most significant productions coppa. it's an exploration of anatomy that delves into every aspect of the human body both inside and out. time and again the company conjures images that see themselves into the

view is memory like a nightmare. at the same time possession of us isn't afraid of venturing into more abstract territory in fall when she takes dance back to its more ceremonial ritualistic our regions while her early works were wilder and closer to daily life her later choreography is feel more crafted or artificial feel clear to it she transforms dances into animalistic creatures and explores social issues. of our gravity your mother was a gallery and your father an architect cycles so you may have inherited your talent for strong visuals from the one side but space has also always played a key role in your work what you look for in a space what appeals to here. is my we actually were hirst at building sites a lot of the jewish museum had only just been completed it was still empty and the

collection hadn't been installed yet and usually we're perform at that special moment before the space assumes the function it was designed for. it's exciting because that's the moment that breathes life into a space like that became really clear to me with our work for berlin's noise museum the space had this incredible energy. the choreographed exploration of unusual buildings is just one facet of her work. celebrated opera premiers have followed. many of the world's major upgrade houses are now open in paris rome tokyo and berlin she oversees the entire stage production transforming even the unwieldy

medium of opera to give it her own signature. back to marina abramovich. a major retrospective of the exhibition the cleaner has been touring europe since twenty seventeen. marine abramovich larger than life a true icon. her art has changed many people's perceptions. was walk through walls were published in twenty sixteen. performance and moment over the past really the longest you ever did. how did this idea. come into life i know it was very difficult i know that was the man the

process but they also know that it was my new friends to learn to short to the public transformative force of performance and with absolute supreme nothing. but a dumbass artist as president thinking that this chair will be empty because this new york nobody have time to sit there were several screens it was weird to sit in front of a chair was very never empty had people slept in the front of the museum. and i was thinking why this important performance got such a credible you know attention i think because the public right now is so much ready for this kind of spirit was twenty years ago was not be ready there was will be something else going on to try to now we are so tired of walking to school so

tired. of the quality of non-communication on the completely not ability to have emotions to to have relationships on august fifth of september right now so the public want to be part of something that they can back their own experience which will give to them. this situation for women in iran is the ever present theme for shirin neshat she created her first feature film in two thousand and nine. this story of full completely different women wishing to escape their lives. yes that's right.

but. women without men was based on a great novel had magically list written by one of the most important young women writers who had lived. and you know had often written poetry in my work and i photographed by master poets that i was. i somehow look up to woman particularly women that come from there they oppress the society yet quite empowered that's not finished you hear some of the santa comes diminished and

eventually yeah and if all goes what index. i don't. have time is used to your mind then even just a few me then all the fun stuff. and i'm going to. there's i know. he was talking not that was a statement. that's just me. women without men is her most political film yes. she wasn't able to shoot in iran. the film won a silver line at the two thousand and nine bene's film festival. are you a feminist artiste this question has been asked for me a lot and i was asked my ideas do you think i'm a feminist they all said yes so if you sing over the phone as i have no problem i'm

extremely interested. in women in the way that. their lives no matter which country what culture they come from and that it's always does the reality of the city fragile and one noble and yet extremely strong and defying. the latest film is dedicated to the egyptian singer. a tribute to the icon of the arab world. oh. the. cheering i should like to take a gamble. german choreographers rush about is also driven to new challenges as of twenty nineteen she will become the first ever woman to co-direct billion stars ballots traditionalists of the dance scene have severely criticized her appointment. for

the entire i think it's a great opportunity for dance to explore these extreme positions i want to preserve classical ballet on the one hand and create space on the other hand for contemporary choreographers with a contemporary language to work with this diversity in these different possibilities of the body move. in the us. should be able to create an ensemble that can work with these extremes extreme or. new challenges in twenty nineteen it's certainly not an easy course. moving abramovich has never really cared much about what others thought of her her public image is again she has the will to be different she'll be happy to blow in her own way. if you look at the funny performance fashion of the of the

performance artists it was make it ugly black or dirty white this is it really never any other thing to wear and lipstick i'm a poet you know fashion was totally disregard it's like a fairy tale of something that is ridiculous that is like you know it's just you know kind of completely borger idea that artists not look like they don't want to be like a kind of abundant and long and miserable i want to feel good and this and this really works with the with the sun with the you know just not just about fashion is about i do meditation with the retreats i'm going to wear you away the places in india i have the all system of actually how i work with my body my works planted thousand twenty five to space to breathe for the souls to bring you know new performances and trying to do different projects collaboration works so all this mess and then comes this island of quietness which is the performance itself.

oh. in a more recent where the artist has been talking more i'm settling issues like death . and you are you. you know that you know that you're going to the last part of your life and you have to really concentrate on the most important things and i decide to be happy this is my main you know kind of kindness. this isn't about that is seventy five bought. the. good. i will save some more by buys some more things i think by buying this is getting longer

which would it be they also already say by by our happiness by by suffering by by. intensity i actually will bring back i don't want to say bye bye to intensity i mean tense you and i but i will say the bye-bye bullshit. three artists three free spirits all made it to the top. i moved on and i don't want to always live with this sense of longing in this romantic idea of return i feel that i have come to an end of that chapter and my stories me concepts my characters are altered changing what remains consummates myself. for me is useless for me the strength of dance lies in the fact that it's language

is so much fear that's what makes it so grand being able to touch that secret behind those who i. have no luggage and tell me things to me is looking for a quality just i can go through this isn't true this is why it's so good in all of them i didn't put myself in any creature all.

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